I like the storyline of this show,it attract me so much

The greatest movie ever made..!

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Petey Wheatstraw (1977) ** (out of 4) Rudy Ray Moore is back, this time playing the title character, a comedian who is doubled crossed by a couple jerks. Petey is shot dead in the streets and his spirit is visited by Lucifer who offers him a deal. If Petey agrees to marry his daughter and have a son, Petey can continue life and be given a magical pimp stick. Petey takes the deal and enjoys the powers that the stick gives him but when it comes time to pay he wants no part of Lucifer's daughter.After DOLEMITE and its sequel THE HUMAN TORPEDO, Moore found himself playing a new character and while it's not nearly as entertaining as the earlier movies, if you're a fan of the comic then there's plenty to enjoy here. If you're coming to this film expecting to see anything like THE HUMAN TORPEDO then you had better check yourself because this film is something completely different. As wild as the story sounds, the film is actually pretty straight-forward without too many campy or over-the-top moments.The direction they took this film is somewhat shocking because it barely registers a R-rating until the final fifteen-minutes when we finally get some exploitation moments including a weird orgy sequence and some nudity. Everything before that is pretty much a straight but bizarre drama dealing with Petey being murdered but then given a chance to seek revenge on the men behind it. All of this is played rather straight and it is entertaining but I'm just not sure the blaxploitation crowd are going to enjoy something straight when it comes to Moore.The film finally reaches some high marks at the end when Lucifer and his servants come for revenge. The make up on the devils is quite generic but it makes for some fun. As usual Moore doesn't give a great performance but he's certainly quite the character and he manages to make the role fun and keep the viewer interested in what's going on. The supporting cast is nice and for the most part fans of Moore should enjoy this one.

What this Rudy Ray Moore action-comedy lacks in pace and skill (not like "Human Tornado" was a bastion of mature, professional film-making) it makes up for in sheer sloppy insanity. The grafting of a supernatural thriller onto Moore's usual urban scenario enables some of the funniest, bug-eyed, ethnic performances on record. And the implausibilities are hundred-fold. Whether it be the film's ridiculously costumed demons attacking ghetto toughs with kung-fu, an orgy of she-devils seducing Moore, as he whoops and giggles straight at the camera, ridiculous, feel-good montages, or the film's opening: the arrival of Petey Wheatstraw as a fully developed 9 year old boy, birthed straight out of his mommy's uterus following the discharge of a watermelon, there's plenty to enjoy. Yes, watermelons figure prominently in the movie, almost as much as the black supporting cast's hyper-gesticulating mugging and other raunchy, offensive material--and this doesn't include the sight of Moore's flabby body packed into tight polyester leisure suits, or the man's bare feet. One bad guy, disciplined by an avenging Moore, poops his pants and this sequence is celebrated almost as much as the comedy team antics of Leroy & Skillet, Skillet being a bulbous, muskrat-resembling criminal who weighs at least 600 pounds, most of the weight distributed throughout the ass area. This man's performance is more reason to see the movie than the nudity, doo-doo humor, awful karate fights, and funk score. Still, unlike the infinitely superior "Human Tornado" or even the tighter "Dolemite", what passes for a script here is about the most trampled, dismembered, impossible-to-figure-out, narrative mess, additionally hindered by too many lengthy scenes and abandoned characters. Yet it definitely beats Moore's unwatchable "Disco Godfather". For all the man's commitment to the project, Moore is disappointing, whereas Skillet is the true genius presence of the movie.

Years ago, I wrote a hostile review of Petey Wheatstraw for IMDb. What can I possibly say to justify that? I was young, and foolish. And the greatness of this film had not yet revealed itself to me.Well, "greatness" is too strong a word. Petey Wheatstraw is not great, but rather "amusing" and somewhat "crazy." If you permit yourself to be drawn into the film's wacky universe, you may have a thoroughly enjoyable viewing experience.Petey Wheatstraw, in short, is about a kung-fu fighting stand-up comedian who makes an unwise bargain with Lucifer. It's part comedy movie, part horror movie, part gangster movie, part sex movie, and part kung-fu epic with intentionally (I hope) bad choreography. The film bounces breathlessly between these genres, especially in the early scenes, which are disorienting and seem totally unconnected. But soon enough, the story settles into a kind of weird rhythm.Needless to say, the production values are poor (Lucifer's demon minions are men in ballet tights and Halloween masks), the editing is choppy, and the acting is of highly variable quality. The script, however, has a weird poetry to it. The comedy dialog, though extremely crass, is sometimes really funny, and some of the "character" scenes when Petey and Lucifer get together are bizarrely effective.Now I feel all weird, because I'm trying to defend what is, in essence, an extremely tacky bad movie. But it's a *witty* bad movie, and I can appreciate the effort that went into its production. And the film undeniably captures a time -- a place -- a bizarreness. It's sort of hypnotic.Let me put it this way: I bought Petey Wheatstraw as a bargain DVD years ago, hated it on the initial viewing, and almost pawned it. But I never did get rid of that DVD. It survived several years of DVD trading-in, numerous changes of address on my part, and other seismic events in my life that might easily have caused Petey Wheatstraw's demise. But that DVD survived through it all; I still have the movie, still think about it sometimes, still smirk when I see it on my shelf. And that's the best endorsement I can give it.

Okay, I respect Rudy Ray. _Dolemite_ was an absolute classic blaxploitation film. When I saw Dolemite, I noticed something fresh, something raw, and something that is deserving of its place in film history._Petey Wheatstraw the Devil's Son In Law_ was by far the worst movie I have ever seen. And believe me, I gave it a chance. It was recommended by a friend who knows what I want to see, and suggests both the best and the worst movies ever for me to see. He had already seen it once, and when we watched it, neither of us could finish it. I ALWAYS finish movies. I hate leaving, even to go to the bathroom, from even bad movies. This one just couldn't do it for me. The low budget nature is negligible. The poor acting is expected. But the acting is not just poor, it is terribly excessive overacting at points, and at other points cardboard-cutout-esque.I had a hard time getting my mind around the stereotypes displayed.The worst part of all is, it is not a bad movie you can make fun of. I mean, a scary movie, a drama, an action film... if done poorly, you can make these a laugh riot, either with a bunch of your pals or by yourself. But when a no budget comedy is horrible, you can't laugh at it. It is impossible.Alan Alda's character in _Crimes and Misdemeanors_ says "If it bends, its funny. If it breaks, its not funny." This broke before the movie started and consistently waves the broken pieces in your face.Look at it like this: A friend tells you a bad joke. It is uncomfortable to listen to, but the reward comes when you pretend to laugh and then they feel good about themselves. These jokes are even worse, so they are more uncomfortable to listen to, and then, since it cannot receive your reaction, assumes you are laughing hysterically, and kicks the horribleness up a notch, trying to top the last joke. And since the filmmakers are ignorant to your response it is not endearing, but annoying. You feel no reward for attempting to laugh. Its even hard to make your own jokes about it, because this film goes to such great lengths to try to make you laugh anyway but fails at every turn. And I do mean EVERY TURN.Maybe I missed something, so you can try to watch it. After all, I do advocate trying new things. At least you will be able to appreciate good comedy.Forgive me, Rudy Ray.